Listen to Bach's Goldberg Variations BWV 988: Aria from Glenn Gould's Goldberg Variations for free, and see the artwork, lyrics and similar artists. Elles représentent aussi un des sommets de la forme « thème avec variations », et une des pièces les plus importantes écrites pour clavier. At the end of the thirty variations, Bach writes Aria da Capo e fine, meaning that the performer is to return to the beginning ("da capo") and play the aria again before concluding. Bach uses close but not exact imitation: the musical pattern in one part reappears a bar later in another (sometimes inverted). This gradual fade, leaving us in awe but ready for more, is a fitting end to the first half of the piece. The variations found just after each canon are genre pieces of various types, among them three Baroque dances (4, 7, 19); a fughetta (10); a French overture (16); two ornate arias for the right hand (13, 25); and others (22, 28). [15] Among those canons, the eleventh and the thirteenth are first versions of BWV 1077 and BWV 1076; the latter is included in the famous portrait of Bach painted by Elias Gottlob Haussmann in 1746. Au lieu du canon à la 10e prévisible, la variation 30 est un quodlibet qui combine avec fantaisie plusieurs thèmes populaires en contrepoint : « Ich bin so lange nicht bei dir gewest, rück her, rück her » (« Il y a si longtemps que je ne suis plus auprès de toi, rapproche-toi, rapproche-toi »); et « Kraut und Rüben haben mich vertrieben / Hätt’ mein’ Mutter Fleisch gekocht, so wär’ ich länger blieben) » (« Choux et raves m’ont fait fuir, Si ma mère avait fait cuire de la viande, je serais resté plus longtemps »). This is a simple three-part contrapuntal piece in 24 time, two voices engage in constant motivic interplay over an incessant bass line. [citation needed], A note-for-note repeat of the aria at the beginning. [13] The Kraut und Rüben theme, under the title of La Capricciosa, had previously been used by Dieterich Buxtehude for his thirty-two partite in G major, BuxWV 250.[14]. Peut-être Johann Gottlieb Goldberg, l'apprenti claveciniste et élève extrêmement doué de Jean-Sébastien Bach et de Wilhelm Friedemann Bach, a-t-il joué ces variations à son maître le comte pour distraire ses longues nuits d'insomnies, et pour l'accompagner jusque dans les bras de Morphée[réf. 3 for solo violin, in the A♭ major prelude from the first book of The Well-Tempered Clavier, and in the D minor prelude of the second book. The bass line is notated by Ralph Kirkpatrick in his performing edition[3] as follows. The second section develops using the same thematic material with slight changes. The Goldberg Variations, BWV. Il résidait souvent à Leipzig et amenait avec lui Goldberg, que nous avons cité ci-dessus comme ayant reçu de Bach des leçons de musique. Regardez gratuitement la vidéo de Goldberg Variations, BWV 988: Aria par Johann Sebastian Bach sur l'album Bach: Goldberg Variations, BWV 988 (1981 Recording) [Expanded Edition], et découvrez la jaquette, les paroles et des artistes similaires. En outre, Goldberg, qui était effectivement un surdoué du clavier, les lui a sans doute interprétées[3],[4]. Filesize: 6.3 kb. Les Variations Goldberg constituent une œuvre pour clavecin composée par Jean-Sébastien Bach portant le numéro 988 dans le catalogue BWV. The aria is a sarabande in 34 time, and features a heavily ornamented melody: The French style of ornamentation suggests that the ornaments are supposed to be parts of the melody; however, some performers (for example Wilhelm Kempff on piano) omit some or all ornaments and present the aria unadorned. Bach était en voyage à Dresde en novembre 1741, et on peut soupçonner qu'il ait présenté à son protecteur, c'est-à-dire précisément le comte Keyserling, une copie des Variations Goldberg qui venaient d'être imprimées. RELEASED JANUARY 1, 2000 ℗ 2000 HAENSSLER CLASSIC. a 1 Clav. Commenting on the structure of the canons of the Goldberg Variations, Glenn Gould cited this variation as the extreme example of "deliberate duality of motivic emphasis ... the canonic voices are called upon to sustain the passacaille role which is capriciously abandoned by the bass." This is a canon at the fourth in 34 time, of the inverted variety: the follower enters in the second bar in contrary motion to the leader. Nous en sommes redevables au comte Kayserling, ancien ambassadeur de Russie à la cour de l’Électeur de Saxe. No target: CITEREFWilliams2001 (, for discussion see Williams ( 2001, 8 ), may. Variation is a dance-like three-part variation in the Series of 30 is a four-voice,! 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